Tuesday, October 14, 2008

WWW, October 2008 - Where Reggae is mostly a studio music, there are several Reggae Bands touring the world with legendary tour status. Misty in Roots is not the least of them, as this video registration of a concert in the Holy Land clearly shows.

In no specific order, but in superb video and sound quality, we can experience seven tracks by the legendary Misty in Roots. The band has been touring ever since the 1970's when they started as part of what was a "band boom" in the UK during that time.

Their 1978 album "Live at the Countervision" showed a band that added a dimension to the idea of "Live Reggae" their music simply sounded better during a concert.

2008: three decades and a whole lot of experience later, we can see a video of Misty and Roots playing several of the classic tracks in the Holy Land. This is Live Reggae as Live Reggae should be.

A Dubwise Experience? Wrong! Eight Dubwise Experiences as I would say. Mixed by the hands of Paul "groucho" Smykle, the same who mixed the legendary DUB FACTOR (Black Uhuru) and the arguably even more legendary Ini Kamoze mini LP back in the 1980's, this album belongs in my personal all time top ten of favorite Dub Albums. The music on the album, needless to say actually when it's Sly and Robbie, is super tight! 1983. Digital Devices were not so common as today, and people were complaining about what they called a plastic sound. It's in this time, that Paul Smykle mixes some of the weirdest dubs with the use of these so-called plastic devices, at such a high level of skill, that many of today's DUB producers can only dream of making dub mixes like the ones presented on this CD. Without apology. Decennia later, this album is still ahead of it's time!

DUB is de-constructing and remixing reggae tunes. Smykle does that to the extreme, in this dubwise attack to your brain! Many wouldn't recognize the original even when they hear it. Most of the original tracks for this album, by the way, are pretty hard to get and have been topic of discussion in the reggae newsgroup REC.MUSIC.REGGAE for a long time. Very special is "Danger Zone", sung by the legendary Errol Flabba Holt, super bassist from the Roots Radics in their Channel One period.

If you like dub, if you like Sly and Robbie, if you like a bargain, than this is an absolute must in your collection. And because it's a mid-price album, you have no excuse!

Many reggae albums are named after their producers instead of the artists, and this one is no different. It's named after Niney (because he has nine fingers) the Observer, who had a major hit with his tune "Blood And Fire". Irony, or is my mind inspired by the great Dub that I hear? Knocked down by a Dub Sledgehammer? Anyway, the acclaimed record label BLOOD AND FIRE surely is getting company. They're no longer the only ones re-releasing old and classic Reggae in high quality packages. Here comes MOTION RECORDS!

This UK based record label has released a steady flow of high quality material during the last years, and "Sledgehammer Dub" is no less. In fact, it's the Dub from an ultra-rare Dennis Brown album called "Deep Down With Dennis Brown", but you won't hear his voice in the ten tracks that used to form Sledgehammer Dub. It has a few bonus tracks, though. They can't be resisted too, not in the least because these tracks do contain Dennis' voice.

Originally, Sledgehammer Dub was issued around 1976, in a white sleeve without a track listing. How different is this release: it comes with a complete booklet written by Lee Perry biographer David Katz, in which he interviews Niney and other people concerning the album. When you read the liner notes while listening to the music, things start to live! You'll be introduced to the wide and rich culture in which Reggae Music came to exist.

The album has an all-star list of appearance. Most of the music was played in 1972 by the well known Studio band Soul Syndicate, exactly 30 years after this re-release. Many of the tracks on the album have the "flying cymbal" sound which is more or less the trademark for this band. Then, the dubs. According to Niney, every track was mixed by the late great KING TUBBY. Does he need an introduction, being the inventor of DUB?

The four bonus tracks are very interesting too. One of them is a track called Head Line, which is a Dub from Dennis Brown's "My Time" and it includes the voice of Big Youth. Kind of funny, kind of interesting: the CD closes with a time warp to the millennium change with a dub plate from the UK Dub Rockers THE DISCIPLES. A proof, that Reggae Music is Timeless, Alive and Kicking!

To summarize this review: Sledgehammer Dub is another hit, and this one hits hard! Created by an all-star list of Reggae legends during a peak of their creativity, the album should be in every serious Dub Reggae collection. BUY IT!

Upfulness coming your way with the Ark Band as I would say! Real Rastaman vibes in this music, a fact that seperates the Ark Band from the many other bands that are "riding on the Rastaman bandwagon", as Burning Spear puts it, by using Rasta language for commercial reasons, you know who they are. This band has opened for a lot of reggae superstars, proving their ability to play reggae on a professional level. The Ark Band makes a combination of soulfull reggaemusic that sometimes reminds me of Third World, and upfull energetic rhythms that will force the listeners to get up and rock to the beat. What I also hear on their CD Love Is What We Need, is that this band played a lot of concerts, the same vibe you find on live albums you will catch on this one as well. Love Is What We Need, mastered by Jim Fox and Lion and Fox, also contains some fine dub versions by Jim Fox himself. In the dubs the music becomes more skanky, the musical skills of the artists become more clear. The sound is superb, as expected from Lion and Fox, and for only ten dollars you can buy them from the band. The disc contains twelve tracks, and you can sample two high quality mp3 files from the album for free to see if you like the music. I would reccomend the Ark Band to all reggaefans, for some positive vibes and some easy skanking as well.

Root Awakening belongs to the tightest reggaebands from the United States, which they definitly prove on their CD "Roots Tonic", avalaible from the MP3.com Digital Automated Music label. The group has played as backing band for the legendary Jamaican reggae singers The Congo's and have a regular appearance in the MP3.com Reggae Charts. Roots Tonic is a selection of ten tracks, of whom three are really good worked out Dub versions. the nice thing with this band anyway is that they incorporate a lot of dubwise in their authentic roots music which increases the listening pleasure extensively! A full instrumentation, backing vocals, and heavy rhythms that are guaranteed to make you move your dancing feet. The sound is rough and heavy and the drum and bass rock hard. I like most of the tracks, Take the Time plus Dub being my favorite one on this album. But actually, I like them all but one. There is one love-song on the album too which I don't really see as the best reggae ever created, but I'm not such a lovers-rock fan anyway. Lucky for me it's only one track hehehe.

Many reggae bands have a tendencee of putting too much complex parts in their music, Root Awakening is also not afraid of doing that, but not in the usual, almost disturbing manner.

This album is currently out of print. This review is placed for historical reasons.

King Jammy Meets Dry And Heavy In The Jaws Of The TigerDUBROOM ALBUM REVIEW

Especially after listening to Scientist Dub Culture Into A Paralel Universe, I was wondering where Prince, now King, Jammy is up to these days. Dub is alive and kicking but you hear so little from the old Dub Masters, that's the reason why I was so happy with Scientist's new release. An inquiry led me to the purchase of this brand new CD from King Jammy, and I must say I am very happy to hear that the original Dub Masters still have a good thing going. Where Scientist mixed Culture at Jim Fox with digital devices galore, Jammy decided to use the older equipment as well and go to the other side of the world, where a Japanese band called Dry and Heavy is making some crucial reggae riddims. The result: 13 tracks heavily mixed in a dubwise style, sometimes sounding a lot like Twilight Circus.....

In music technology "dry" means without effects. Dry and Heavy surely isn't dry anymore after being treated with the Jammy treatment, but heavy it remains! The bass and drum section is very solid and versatile: I hear Roots. I hear Rub A Dub. I hear UK 1980's Roots influences. I hear something in between as well. Full instrumentation is used and the sound is authentic. But the vocals are either very good or very bad. Some parts I can not get used to, other parts are really beautiful. The vocals on the track "Mr. Dub", for example, I can not get used to them. It's really out of tune a lot. But on the next track, "Breaking Dub", this is being compensated by beautifull vocals again.

Over all, I am very happy with this CD. It's a welcome addition to my collection of DUB music, and it is also good to hear new DUB coming from the original DUB Masters. Also the fact the music was created without the use of too many synthesized sounds makes me happy. Looking for good Dub, BUY IT!

With titles such as "Lightning Strike", "Seismic" and "Lava Flow", Netherlands based Twilight Circus Dub Sound System decided to follow the ongoing tradition of thematic Dub Records on their release Volcanic Dub. The album deals with the powerful forces of nature, and the music is equally connected with the theme as the titles, or in other words: this is a very powerful CD, guaranteed to move your dancing feet! Volcanic Dub consists of 12 superb Dub tracks, and I say this is the best Twilight Circus release I have heard thus far. And because it's their new release, I'm looking forward to more. The mixing is very, very intense: and especially with the many Steppers rhythms present on the album I can easily overstand why it's called Volcanic Dub. Erupting echo's! A very skillful use of many old skool effects like tape delay and spring reverb! Drums like Thunder! Phasers like lava!

Another aspect which makes me like this album so much are the many really good basslines, again especially on the steppers rhythms. They make me move and groove from the top to the very last drop. But they also make me want to hear a stronger bassdrum. It's one of the things I generally find with Twilight Circus music, a matter of taste.

The absence of a strong electronic vibe makes Twilight Circus very interesting for both the Dub-fan of today as well as yesterday. You'll hear some synthesizer-like sounds every now and then, but never up front. I certainly like it and would specially recommend this album for each and everyone that is into DUB!

This CD contains 12 crucial tracks from Messian Dread created in the 2000/2001 era. Several of the titles have reached a number one position in the MP3.com Reggae Dub Charts, and some even entered the Reggae Top Ten on this same site, where you can find big names like Bob Marley, Steel Pulse and Johnny Clarke.

"Mark" comes in the place of the album "Introducing" and contains higher quality sound and no track on the album is also released on another Messian Dread CD.

Yes I, this is great music! The Scientist is one of the wildest original DUB MASTERS, and here he defends his title as "Heavyweight Dub Champion". You'll play this album again and again, and every time you'll hear something new. Whether you're looking for a chill out experience, or for some heavy bass music to dance to, you'll love it. All ten tracks are layed down by the legendary Roots Radics. In the time this album was first released, they were the studio band for Channel One Studios and dancehall was known as Rub A Dub. Channel One was for Rub A Dub what Studio One was for ska and early roots reggae.

You can also hear the voice of Barrington Levy, beautifully mixed in reverb, delay and feedback. In fact, most tracks are the dubs for his album "Robin Hood". And the voice is definitely not the only thing that mixed out. There is not a moment in the tracks, that you don't hear excessive mixing going on. I think this is one of the strongest point from the Scientist, he is really using his devices to the max. I'll spare you the technical details, but I can imagine a smoking mixing table, after Scientist touched it with his hands.

This album is absolutely one of the reasons why many people find, that the best DUB was created in the 1980's. And surely, when you compare this album with the works of many of today's Dub Mixers, you wonder why, with the technical possibilities of today, there isn't much more heavyweight Dub around.

Another great release from the Conscious Sounds studio! They maintain a great mix between electronic instruments and other digital devices on one hand, and acoustic or analogue instruments like conga's, real horns and guitar on the other. In this release, we have UK Dubman JAH WARRIOR presenting three Jamaican deejays or toasters that have made great records during the decades that reggae exists. Presenting Trinity, Ranking Joe and U Brown, not the worst as I would say. They chat over riddims created by Jah Warrior and every track comes with an additional DUB Mix, skillfully mixed by Dougie Wardrop. The music that Jah Warrior creates, is kind of special. Completely in the spirit of Conscious Sounds, there is a mix of digital and analogue. We hear good musicians playing conga, horns, and guitar. The drums are programmed in UK Dub style: busy rhythms that make you move and groove. Some people criticize his bass sounds and there is something to say for that. A matter of taste.

I like it, this concept of having Old Skool Deejays chanting over modern rhythms. The three have done it (their roots) way, and they did a good job I must say! The style is much more relaxed than the toasting of deejays like Shabba Ranks. It's not comparable to the old stuff, it's definitely something new which you might have to get used to before you can appreciate it. In my opinion, the concept could be improved further, for example by adding some singing lines in the background.

I must say something special about the great DUB versions that accompany all titles. They are all top! According to the liner notes, the mixes were made by Dougie Wardrop. He is one of the best UK Dub mixers of this time. He also mixed the Album Sentry Meet The Musical Family, available for download at MP3.com. The seven DUB tracks alone are a good reason to buy this album.

When you say "Lee Perry", many people will be thinking about the mystic sounds coming from the Black Ark studios. Personally, I think about weird and crazy things like the cover of his album "The Battle Of Ammagideon" on which you can see a skeleton representing "The Holy Ghost" and more things that not really attract me to check it out. Reading recent interviews of the UPSETTER.net WebSite in which he expresses he dislikes dreads also didn't really make me happy. He says:

"...............all I know is that dreads are dangerous. Beware of dreads! My baby was not born dread, so if you are a dread, this is my message: "beware of dreads". Because when you knot up your head, you knot up your brain. And those who knot up their brain are fucking dangerous! So I am going to open up some barber shops! Like Hare Krishna and Santa Claus, I must invest my money in barber shops instead of in reggae. How you like that?"

Many have tried to imitate his Black Ark sounds, but not with too much success. And since the Black Ark studios are burned down by Perry himself, there's not so much change in another Black Ark era. So then here, then there you'll see new re-release filled with Lee Perry's Black Ark works.

Born In The Sky is certainly not just another Black Ark re-release. For starters, it covers a much wider period then just his Black Ark era, you'll find tracks as old as 1969 on the disc so you can really check out different stages of development in Lee Perry's works. Second, 'Scratch' himself was involved in this release as well and that's not a thing you can say about every new Lee Perry re-releases that we see. Third: Very informative liner notes written by David Katz, who also wrote the Lee Perry biography "People Funny Boy". In short, another historical release by Motion Records.

Every time I hear Dub Mixes from Dougie Wardrop, they always amaze me and I wonder why this name is not as known as Jah Shaka or the Mad Professor, to name but two other Dub Maestro's from the UK. "Centry meets the musical family" is the sub title for this interesting UK DUB release from the stables of Dougie Wardrop. Interesting? Yes, fe real! The instruments used on this album are almost all analogue or acoustic. Real drums, real bass, guitar, horns, you name it and it's on Release The Chains. Many modern Dub music is sometimes hard to recognize as Dub because of the many house and trance elements you find in it, but Release the Chains sticks to ROOTS MUSIC. 11 Tracks of versatile reggae music, easy skanking tunes but also upright steppers. Conscious Sounds deserves world wide attention with their original high quality Dub Sounds. I'm sure you will agree with me after you've listened to a couple of tracks. And you don't have to spend any money for that, because all the tracks of this album are freely available for download. If you click on the cover, you will be directed to a download page. There is also an option to purchase the CD which you should do if you like the music.

This album is currently out of print. This review is placed for historical reasons.

Although many hard core roots reggae fans will absolutely disagree with me, I consider Rock 'n' Groove to be one of Bunny Wailer's best albums ever. Originally released in 1981, this album consists of 7 tracks, all comming with their dub version. These kind of albums are called "showcases". The music is fresh and it is absolutely impossible to not start dancing when you listen to the sounds.

Bunny has been widely criticized for releasing this album, as he was considered to be a roots reggae artist, and the music on this album was not really roots. Some thought it was to "light weight". So you might actually listen to the music and think it is roots reggae, because it's so old, but that's absolutely not the case. Don't forget, the year is 1981, and a new thing called "dancehall" was on the rise. This dancehall style, or rub a dub, is different then the computerized music we now label as such (dancehall).

Rock 'n' Groove is a statement of peace and love in a time of war. The political and economical situation in Jamaica was very tense, with the two rivaling political parties using gunmen and other violent methods to achieve their goals. It's an attempt to make the people dance rather then fight.

This album is currently out of print. This review is placed for historical reasons.

Generally, the mighty U ROY is considered to be the originator of Toasting. Long before RAP was there, in Jamaica the Deejays were chatting (toasting) over music already. So one could say, that U ROY is the Godfather of Rap. And this CD is considered by some to be the best U ROY album so here you have it!

Jah Son of Africa is actually released in the year 1978 and it is recently published again. The album has no bonus tracks; it's just the original album containing 9 tracks, but the fact it is placed in the mid-price section compensates this abundantly! Especially because this is an "all killer, no filler" type of album.

One of the nice aspects of Toasting, is the interaction between the singer and the toaster. You'll hear a few lines of singing, and then U Roy responding to that. When the singers sing about worries, for example, U Roy will respond with a comforting message about JAH JAH taking care.

The set starts with a killer version of Bob Marley's militant anthem "Exodus". It's not played by the Wailers, however, but by the Gladiators. More original Gladiators recordings on this album are "Rivers Of Babylon" and "Herbman Skanking" (Stick A Bush). But it's not only the Gladiators who contributed, there's also Ken Boothe, Judy Mowatt and Brent Dowe. A significant part of the CD is drummed by Horsemouth, one of Burning Spear's original drummers and one of the main characters in the reggae movie "Rockers", a classic in itself. The other parts are played by Sly Dunbar, one of the tightest drummers ever to walk on the face of the earth.

Without apology, I would say this album is a must in your collection. It contains the best elements of one of the best times in reggae. Hard riddims, a lot of dub mixing (echo's), serious lyrics, and all this in mid-price!

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Some additional Information found on the Internet: "I am working here from memory but if this is the U Roy album that begins with the airplane taking off (one of his best, IMO) then the original was never released and there is a very interesting story behind it.

That album was originally recorded by Tony Robinson as an album by the Gladiators. For some reason unknown to me, Tony gave the album over to U Roy and never released the vocal LP. If you listen closely to the original vocal tracks in the mix, you will recognize the voice of Albert Griffiths who, needless to say, was not very happy about this.

Perhaps this decision was made based on what was at that time reported to be considerable success that U Roy was having with sales in Africa but I can not verify that. What I can say is that it is one hell of a U Roy album. That explains why there are no "originals" to these toasts." LINK

This is the DUB version of Culture's excellent Roots Reggae release "Payday". It is mixed by one of the true legends of DUB: Scientist, the Dub specialist. His hands are faster than the speed of light, and he sounds like dynamite! Aha, yes, with this album he proves to still be among the top of the Dubmasters!

I am happy that Scientist hasn't lost his energy, because the same wild style of mixing that I know from, for example, the Greensleeves series, I find it back on this release. And that is not the only thing that reminds me of these classics, because the cover also comes in Comic book style and portrays the artists as superhero's like Batman and Superman. The tracks have impressing titles inna Science Fiction Style: "Beam me up, Dubby", and " Intergalactic Excursion" to name but two. All these things together form the ingredients for a Dubwize Experience Extra-Ordinary!

Although there are many similarities with older releases, this CD should not be viewed as "Retro" at all. It is obvious that here we can hear a Mature Scientist: someone with decades of Dub experience. The skilful use of digital effects and recording techniques prove that DUB is still strong, in fact it becomes a more contemporary style of music every day.

There's an interview with Scientist as well, in which he describes the difference between King Tubby and Scientist on one side and Lee Perry on the other. Scientist explains: "His (L.P.) remixes are different from ours: Scratch doesn't have the same edge. Like what Tubby and I have... we actually manipulate the equipment to get what we want. He knows music, but as far as the electronic side..."

The only Retro-aspect on this album I do not like, is the length. It's 47 minutes long and contains 11 tracks. It would have been nice to have some bonus tracks as well. But, it is a good thing to see that the Scientist still releases masterworks. So go buy this one if you're into the wild style of the Scientist.

Long time ago Bob Marley released a song which was not being positively received by everyone. The song was called "Punky Reggae Party". Marley was one of the first to recognize the connection between the sufferahs from jamaica and those in europe and the usa. Reggaebands such as Steel Pulse have started their musical career within the Punk movement.

DUB MEET DUB, a release of Winsuck/Black Spine Records, takes the spirit of the Punky Reggae Party into the next century with a compilation of 13 very different tracks that range from roots reggae to drum and bass to undefined underground music. The cover is in serious PUNK-style to once more stress the Reggae-Dub-Underground connection. This is a document of the influence that DUB has got on so many styles in the underground: most of the tracks are not DUB in the strict sense of the word but there are effects galore.

Let's have a look at the tracks.

The CD starts of with four skankin' contemporary Dub tracks: from the rather militant "Angry Dub" by Internet Artist ROLAND Z. to the dreamy "Too Much Freetime" by Louie Fleck. MP3.com artist Dubware is also included with a nice blend of old and new DUBBING techniques. "From old skool to new skool!", I hear at the start of track 5, and indeed, a sudden mood swing, when Muddy Face comes on the scene with a hip hop DUB called Motley. It gets even weirder on the next track: industrial minimalistic, drums and distorted bass. After this the CD moves into a different direction once more: two meditative tracks with nuff world-music vibes. Reggae Vibes enter again at track 9, an artist called Ras Prophet comes in with another easy skanking tune, slightly reminding me of Boom Shaka. Followed is another minimalistic underground tune called "Shopping". The last three tracks are from MP3.com artists again. JAH DUB presenting "Zion", roots and acid combined. Track number 12 is reserved for the compiler: EJ Winner. His track "natty" is a minimalist Dub with a lot of background noises, nice to chill out on this one. The last track on this album is Bloodsucker, by Dubroom artist Messian Dread. Conscious Roots reggae with extended Dub version.

DUB MEET DUB surely draws once more the attention to an ongoing debate: what is Dub? Personally I don't think all tracks on the CD fit the description, although it is evidently that drums, bass (in any form) and effects form the spinal colom in the presented music. If you're into the underground, and remember that is in the underground that the trends of tommorrow are coming to exist, this one is for you!

"I was so naive about being a star. I just wanted to play the music. When it hit, man... look here, this picture on the cover, in the boathouse, my girlfriend made me this shirt, Big Youth gave me his old guitar, and I don't remember where I got this hat from."

Ghetto-ology: living in the ghetto.

Ghetto-ology: Originally released in 1979, Sugar's first self-produced album.

Or albums, I should say. Because Ghetto-ology originally came in two versions, a vocal and a dub album. You can hear Sugar Minott, just after he left Studio One, and before he became to know as the godfather of Rub A Dub. Most tracks were layed down at the Channel One Studios by the then relatively new Soul Syndicate. The Dubs were mixed by Prince Jammy and the unknown Lancelot Mc Kenzie at King Tubby's. Also you'll hear Freddie Mc Gregor... on dums!

Ghetto--ology comes with a small booklet, unfortunatly not as descriptive as Blood & Fire always does, but it contains a little interview with Sugar Minott, conducted in 2000. Personally, I like every track on this album, especially the dubs. They all deal with conscious subjects and there's a good mix between militant steppers and one drops. Spiritually uplifting, definitly! Where you hear so many rich people say they do not believe in Jah because of all the suffering, it is the sufferer's themselves that cry unto JAH. The dubs all have a completely different musical atmosphere then their vocal counterparts. A suberb master piece of mixing, I must say.

When you heard the excellent Blood & Fire release "In the Light & Dub" and you agreed with me about the extraordinairy good vibes that you could find on that one, you will probably also agree with me, that this album is a worthy follw up for that one. 10 Tracks from one of reggae's finest artists from one of reggae's finest times (late 1970's) with their accompanieing Dub versions, a booklet packed with information, we're almost getting used to the fine work that Blood & Fire delivers to us, but it's kinda special.

It's too bad that most of the time there is a little bit of silence between the vocal and the dub, although this has been tried to reduce to a minimum. But the annoying aspect is the fact there is a little bit of silence, and even if it is reduced to the minimum, it is still there. With all possibilities in technology, this could have been done. But it would have added something to the music which originally has not been there.

However, almost every track on this album is a killer, and not a filler. "Skylarking" can't really move me that much, although it is probably one of Horace's most well-known tunes. Not only does Horace Andy have a magnificant voice, the music on Good Vibes rocks hard as well. Extraordinairy well. The dub mixes are heavy and intense. Most are mixed by Prince Jammy. This is not old skool dub, this is old university dub!

In this times, in which you see much spiritual emptiness in the musical works, it is always a good thing to have in your hands a document of consciousness, and Ossie Delimore's debut CD Freedom's Journal is just that. Subtitled "Righteousness exaltheth A Nation", this CD contains 10 pure roots reggae tracks, all written and composed by Ossie Dellimore himself.

All tracks are worked out well and creatively. They have a beginning, an end, there's many chord changes and a full roots band is playing it very tigh, upfull and right. Nice thing, that although the arrangement is full and the compositions are not simple, the songs always stay groovy. A very difficult thing to achieve. The music sometimes reminds me of Bob Marley, but in a pleasant way. No imitation, just the same groove sometimes. Especially the clavinets are in Wailers style. Unfortunatly, the absence of a hornsection becomes even more clear between so much high quality sounds. It's also too bad, there is no DUB as well.

As said before, Freedom's Journal is a conscious album. No slackness, but thoughtful lyrics about the system, about freedom, about Jah. The CD comes with lyrics in the booklet. When you're into conscious Roots Reggae, give Ossie a try. An excellent singer-songwriter of whom we're going to hear more.

I was lying on my back, after enjoying a reggae festival somewhere in the east of the Netherlands. Someone approached me and asked if I wanted to buy the music that was playing over the sound system. I was listening to "Beware... the Bass" from the Dubcreator and I had no more money with me! It was years later, before I finally could get another copy. This was when I met the Dubcreator in person and told him about the possibilities of MP3.com, where he is now one of the top artists in Dub with a regular presence in the DUB top ten on this music site.

A smile came to my face, when I read the title of the album. That bass, yes, that was the thing I still remembered. A strong bass sound is used, a sound that goes well with the other electronic instruments that DC uses. Yes, electronica galore on this album: it is very hard to recognize any acoustic elements although they are there.

Is the use of electronica that good or bad? Both. Good, because DC proves that you don't only have to make trip-hop, ambient and such with today's instruments. He is also innovating DUB by incorporating modern technologies. And not straying away because of them. Respect! Bad, because it makes the mixes just a bit too slick in my opinion. The deep bass sound disables him from making what I would call "a talking bassline".

Most tracks start of like any regular ambient work. Just when you start to think you're listening to The Orb, the Reggae/Dub riddim drops in. I like that, it is a concept used in Dub and Reggae ever since it existed. Remember the bluesy and souly intro's in 1970's roots reggae? Dubcreator takes this concept into the 21st century.

This CD is a paradox: it's strong parts are also it's weak parts. Every track is very much worked out, mixed by the hands of a perfectionist. No detail is forgotten, almost no mistake is made. Some sounds you'll only hear after listening to a track many times: the tenets of a quality product. No easy-to-swallow tunes, no lightweight stuff. Heavy, but not hard. Strong, but not aggressive.

When I read the Reggae Injection press release, I was a bit sceptical. How many times do you read some thing about a new release, that is supposed to bring you back to what some regard as the golden years of reggae? And how many times did you found out that what bands call "old skool" in fact is not? I know I have come across this. What many people seem to forget, that it is not only the music that makes a release sound "old skool", but the way it was produced is at least as much important as the music itself. How can you make ancient sounds with new technology? Much better it is to use the real thing. Spring Reverbs and Tape Delays instead of new computerized effects. But you can never reach there in this time.Strange thing, this (Reggae) Injection that the (Rhythm) Doctors gave me. It makes me kinda philosophical after listening to 12 Shots of, what I really must call, Authentic Reggae and Ska. Although it does not sound 100% like the real thing only because the recording is simply too good still, I must say that this CD comes very close. And although the press release mentions the sound of Lee Perry's BLACK ARK STUDIO, there is hardly a phaser used on the CD and on those tracks where it is used, it's not done in the Lee Perry style. No, most of the music style pre-dates Black Ark for real. The Doctors play a very energetic kind of music, sometimes reggae and sometimes ska. Every track is instrumental, but many titles open up with some crazy vocals, which gives you the feeling that you're listening to movie soundtracks. One track uses a melody line from a gospel song ("I Love You Lord"), revealing the faith of (some) band members.

As I said earlier, the Doctors play a kind of reggae and ska as it was played in the late 1960's to the early 1970's. Not all tracks are like that, though. As the CD progresses you'll find some tracks using the Steppers Drum (basdrum beat on every count) and there's even three real Dubs present. And three real nice Dubs they are for real! I hear many vintage effects like Spring Reverb.

When you like Sure Dread's instrumental tracks, or the Stubborn All Stars, I think you will also love the Rhythm Doctors. But if absence of vocals (or Dub) bothers you, then this one is not for you. But they sure make real what they write in the press release: "Reggae Injection is for everyone that'd given up on listening to new Reggae or SKA Bands." If you don't believe me, take into consideration, that they have backed up for Prince Buster recently (september 2000).

At the time this is written (July 2002), Messian Dread has released 5 full albums. He is known to be a popular online DUB artist with a regular appearance in the various Dub and Reggae charts on MP3.com. MESSENJAH DUB, Messian's 3rd album is thus far his only album with only DUB tracks. Originally released in 2000, the album has been updated in 2002 with new tracks and a better quality audio. Also the cover art has been updated. Only the front drawing remained the same.

The album starts off with a remastered version of APOCALYPSE DUB, a very long and intense DUB in A One Drop Style. Some consider this to be one of Messian Dread's best DUB tracks. The second track is also a long one: it's the extended DUB mix from the conscious track "Wolves". Mystically mixed backing vocals, a tight rub a dub style drum and bass line, majestic horns, it's all there. After this, we go back into a One Drop Style with a track called Lion DUB. The mix starts of with Messian Dread calling upon the Name of the Most High, which is answered by the roar of a Lion, symbolizing the Lion of Judah of course. Listen to the heavy phasers and reverbs on the Drums! Track number 4, Jah Glory, is another great track in a rub a dub style: It has been released on TANTY RECORD's ROOTS OF DUB FUNK 2 (CD and Vinyl). Even BBC's RADIO 1 has played it. There's a fat, deep bass in it, played by Vicious Vic. Back to One Drop in the fifth track with a DUB called DUB RIGHTEOUS. This track had a wonderful review in MP3 MAGAZINE: "And righteous dub it is indeed. With a surprisingly heavy bass for MP3 and a nice spacious feel to the production, this is definitely the one the horizontal people should check out. You know who you are." After this, Rub A Dub again: Great song's call DUB with you. Heavily reverbed snare drums, freaked out echo's on the vocals, and a rock solid bassline. There is enough lyrics in this DUB track for a righteous meditation. The next track, number 7, is also in a rub a dub style and it has the same title as one of a Pablo Moses tune: DUBBING Is A Must. It starts off as an instrumental, but then the tape slows down, gets a rewind and the track starts again with backing vocals singing the title of the tune. There are a lot of very subtle effects in the mix, which you can only hear after you've listened to it a couple of times. The 8th tune on the album is a heavy duty steppers under the name "Hardcore Dub". The bass is low, and has a lot of tones which the human ear can't hear, but when played loud enough the body can feel it! This one is not for the weak hearts, because the mix is wild, too! Next is another steppers DUB, simply named In A Drum And Bass Style. It contains organs in a haunted style, a solid bassline and heavily phased horns. Track number ten is also based on a Steppers Rhythm. The drums are heavily phased and there are a lot of almost hypnotizing echo's in it. The last five tracks on the album are part of a series of experiments: They are all recorded live with Messian Dread mixing about 6 channels in just one take. The experimentals start of with A Handful of Dub, a super tight rub a dub riddim with keyboard played by SURE DREAD. The echo's are cutting like a razor blade while the drum and the bass rock solid. DUB Blaster is next, a lot slower and monotonous. Slowly, the echo's are built up until a moment comes in which Messian shows a piece of fast movement in which many different echo's come after each other. The third experiment is "DUB TIL DAYLIGHT". It was mixed after a long and tiring day of working in a professional studio getting tracks together for Sure Dread and mixing music. The bassline is aggressive and militant, and the echo's are mystical. After this comes "Throw Mi Corn Dubwize", again with keyboards by Sure Dread. It's more laid back and has some nice delays on the drums. This track also concludes a series of experiment Messian Dread has performed in 1999 at the University of Bristol, UK. Apart from these DUB's, Messian has also given some lessons about DUB to students on that university. MESSENJAH DUB closes of with experiment number 5: it was recorded while Messian Dread tested out his new mixing board with a simple riddim. The track starts of with some wild synthesizer sounds, then the drum and the bass enter the mix and they play a for while, meeting all kinds of different effects and echo's from other instruments.

15 tracks of stricktly DUB, with a lot of variety in the different riddims: a lot of Rub A Dub style tracks, but also Roots (Steppers, One Drops) and some experimentals as a bonus. Some tracks are upfull, others more laid back. Some DUBS are very intense, others subtle. But each and every track is DUBBED from the top to the very last drop.

Reggae Collectors, and Dub Historians, this is a good addition in your musical collection. Even crucial because this CD marks the beginning of an era in which DUB really evolved itself, in my opinion.

"Who's playing the drums?", someone asked Larry Marshall when they were recording the track that is known as "Watergate Rock" on this album. It was a young guy, named Sly Dunbar. Another nice thing to know about the opening track of Motion Record's "I Admire You in Dub", is that this was one of the very first versions that are officially labeled "Mix by King Tubby".

This disc has historical value, to say the least. Some mixes have been made as far back as 1973! So if you are only looking for real spaced out Dub, this is not your choice. There's not so much echo's, but the dub mixing is definitely there. You hear Tubby (and others) playing very subtle with the reverb device, turning instruments lo and hi in the mix, et cetera. It's a thrill to hear them experimenting, knowing where they will eventually come. Like the painter's first paintings. You see the roots of his later work. Most tracks sound very lo-fi as well, but I feel this only increases the historical feel that this album already has. Sometimes it's like I hear Studio One a wilder style.

And please, don't think that the music is low quality. When you hear the bass and drum playing together, this alone will make you move and groove. Beautiful horns, a little melodica from Bobby Kalphat, tight guitar licks from ones like Chinna and Peter Tosh (!). Because the mixing is not that wild, you can get a clear "view" on what the players of instruments are doing.

This is the first time, that the DUBs of I Admire You are being released as a whole. The Album comes with an extra, more spaced out Dub that sounds like an early Scientist version. Also, a very beautiful 12" version. I rate this album two stars out of three. One Star for the tightness of the playing, another star for historical value!

Originally, the riddims for this albums are created for a live concert. They have been remixed in the Dubroom studio. Every track from this session is a little bit faster then the previous one.

Hardcore Dub is a name of a special style I developed in 1994, ten years after the proverbial 1984. It is a very militant style with up-tempo steppers and energetic drums as well as very enigmatic chord progressions. There are elements of electronic dance music as well as some very rough mixing.

Now, a decade later, the style has grown and this album is the first "official" release in this style.

All tracks center around the theme of the New World Order. A lot of dubs come with crucial sound clips from the news.

Blood and fire did it again when they decided to make a collection of the hardest riddims laid down by the Soul Syndicate for Freedom Sounds Productions. I have heard a lot of King Tubby mixes in my life, but this collection definitely strike the top! Great singers give acte d' presence: Prince Alla, Rod Taylor, Earl Zero and many more. Tubby knows so good how and where to drop in the vocals and the instruments, and how to mix the drums. All the tracks in this CD read like a lesson in dub for me, as a creator of dub music in this 21st century.

According to the liner notes that come with the CD, the studio in which these tracks were made, was located at the border between two political gangs who shot at each other. The artists involved in this music had to hide for the bullets at King Tubby's a lot of times. Sufferer's Music avant la lettre.

WWW, November 2007 - Claimed by the "Gospel Reggae" Industry as "one of their own", Stitchie makes it clear how he doesn't have to separate himself from Reggae Culture in order to be who he is.

It's a principal issue: do Reggae artists have to leave Reggae Culture when they are Christian?

Yes, says the "Gospel Reggae Industry".

This rather new branch of the Christian Industrial Complex was founded in the mid 1990's by an organization called "Christafari". They currently have their Head Quarters near Hollywood California, from where they cultivate and sell what they call "sanctified" Reggae.

Big business it is: when you know how to speak Christianese, you can wrap yourself up in a fancy Hollywood styled "Rasta Image" and become a "Gospel Reggae Star". However, you have to separate yourself from Reggae Culture, not to mention Rastafari Livity and Spirituality, in order get there.

Obviously, this an open and clear attempt by what is usually called Babylon System to break Reggae Culture and Rastafari Livity. And since it is done in the name of "Jesus" or "Christianity", the principal question on top of this review needs to be asked again.

It's a principal issue: do Reggae artists have to leave Reggae Culture when they are Christian? Yes, says the "Gospel Reggae Industry".

NO!, says Stitchie. In an interview, he was quoted as saying:

First of all, I need to make this very lucid that these artistes are all my friends and I’ve not lose contact with them because I’m now a born again Christian, if anything, I’m now enjoying even closer friendship with them. I freely received love from Jesus Christ so I’m giving it freely to everyone. This is the motive behind the concept of the video as it is of vital significance that as an Ambassador of Christ I demonstrate the love of Christ to all my fellow dancehall artistes and musicians. (SOURCE)

Whatever you may think of Stitchies personal Christian faith, doesn't really matter. It's a matter of natural fact, that Rasta's and Christians and those who are both have had a prominent place within Reggae Music from the very foundation in the 1960's until this present day in 2007 and it's not about to stop anywhere close.

"Fast and Pray" is a very strong track by Stitchie, in which he appears together with some other "secular" dancehall artists, including the legendary King Yellowman himself. He tells them, that he will fast and pray for them and they give thanks for the blessing.

WWW, November 2007 - Singers chanting truth and right and the players of instruments playing some heavyweight Roots Reggae from different times and places: one hour of Easy Skanking for the Rootsman!

DJ Ian Irie takes us into a Rootsman experience that will keep the hearts and souls in a state of rejoicement and encouragement: the power, yes High Power of Reggae is once again perfectly represented by the Ambassada.

Heavy duty tweaking of just about every knob on his mixing board, effects, deep DUB excursions with one riddim flowing into the next like water on one place, where short silences increase the tension on others.

Balance everywhere, vibes everywhere too: from Conscious Lovers to a militant Johnny Clarke telling the wicked how things really are. A DUB Plate carrying the voice of Barry Brown, and the ever-faithful Luciano are two other highlights in what really is one hour of crucial Easy Skanking, Rootsman Style.

WWW, November 2007 - When the Riddim Twins plays the drum and bass, you have reason enough to check out the performance they will give.

When Sly and Robbie play, Reggae Music plays. The Dynamic Duo played a number of Reggae riddims into the multitrack of various recording studio's that has at least 5 figures, if not 6!

In this video, the Riddim Twins play the classic Bob Marley riddim together with a band, while the singer (Beres Hammond?) does more than singing the words of Crazy Baldhead: he sings some more lyrics (his own?), and even goes on to sing Get Up Stand Up as well.

The start of the track isn't impressive, vocal-wize. But that is about to change after a few minutes, when the singer starts to sing other lyrics over the riddim and the working out of the tune really starts.

WWW, November 2007 - Several disciplines of the Arts come together in this remarkable video: Luciano sings one of his latest tunes while in the background actors and dancers provide some sights with the words.

Luciano is there, just with a guitar. He has some backing singers with him, but most of all: the MessenJah as he is often called has something to say, he has a message. A conscious message!

He talks about the history of the African People, at home and abroad. How many were taken as slaves to the so-called "New World" and what results these crimes against Black People came up with.

Luciano is the kind of Messenger that will gently, but to the point and without apology, explain just what's the matter and how come. A crucial message, that you cannot deny no matter how you try.

WWW, November 2007 - When Jammy's released the digital Sleng-Teng riddim, he started a complete new genre of Reggae.

Six minutes with the once pupil of King Tubby's, the Founding Father of DUB.

Unfortunately, King Tubby's left us way before his time. During Tubby's life time, (now) King Jammy was known as Prince Jammy and he was one of the top DUB engineers, together with Scientist and others.

Jammy's went on from being of the top DUB engineers to one of the top in the Dancehall business and it had to do with the mighty Sleng Teng riddim.

His story is remarkable and well worth an in-depth documentary, which is proven by the full-length trailer that comes along with it.

WWW, November 2007 - The Ali Baba Riddim has inspired many vocalists and DUB engineers to record some of their better works. 28 minutes of this great riddim definitely isn't too much, here!

They're all there: from the obvious John Holt tune that gave the title to this riddim to the legendary King Tubby dubbing it up BIGTIME, from the necessary Dr Alimantado trimming the barber to the unexpected David JAHSon in showcase style.

Definitely a crucial selection of which 28 minutes isn't too much at all. Especially not when you consider that each and every one of the tracks in this mix can be considered among the better works of each artist individually, too.

WWW, October 2007 - In this -incomplete- documentary, none other than Mikey Dread himself takes us straight to the Deep -Rasta- Roots of Reggae Music, while showing some insight in the Jamaican Recording Studio's during the 1970's in the same time.

The video opens up with a psalm and fire blazing of the chalice while JAH Name is called upon. A scene that is shocking to some, attractive to others, yet purely consciousness for the ones who participate.

Mikey Dread explains just what's happening, as the smoke fills up the spectrum of the camera: this is the chalice of the Rastaman who Chants Down Rastaman. Smoking the chalice is a symbolical representation of the Fire of JAH Rastafari when He will downstroy Babylon once and for all.

As the Nyabinghy drums play, the chalice goes around and everyone takes a few sips. Mikey Dread explains how the Rastaman's church is not a building but his body, and how instead in the incense in the Catholic Churches, the Rastaman will light up the chalice for purification as well.

After watching the session for a few minutes, the video continues to show Count Ossie: the first artist in Jamaica to take the Rastaman's Nyabinghy rhythm to the studio's in order to record. We see them as they play during the visit of Haile Selassie to Jamaica (1966).

Nyabinghy is the Deep Roots rhythm of Reggae, even though one could argue that technically this is not really so. Spiritually, however, it definitely is the roots for many Conscious Reggae artists. A thing which becomes kind of clear by watching this video.

The introduction into the Deep Roots of Reggae is followed by one serious session in the Channel One Studio's, where vocal group the Mighty Diamonds give thanks and praises to Jah Rastafari in sight and sound.

The coronation of His Imperial Majesty Haile Selassie I is next: an event that would have more impact than many would realize when it happened in the 1930's. Bob Marley, the King of Reggae, would put one of the speeches of the Ethiopian King to music. In the video, we'll see him perform this track called "War".

As said in the introduction: the documentary is incomplete. There's an annoying time-bar in the video screen as well, but altogether this 20 minutes or so of Deep Roots in sight and sound reveals more about the true Roots of Reggae than millions of hours worth of slick Hollywood "Reggae" could ever do!

WWW, November 2007 - It took the makers of this excellent documentary several months to produce their report on the UK Reggae scene in 1976.

Originally, the documentary was aired on UK TV as part of a documentary series called "Aquarius". It's therefore no surprise, that the presenter introduces the video with a plea to integrate Rastafari and Reggae Music into what he calls "the British way of life".

Of course, lots can and must be said about slavery, about the means by which this "British Way of Life" came into existence in the first place, and obviously it has to be mentioned how Babylon System transcends the borders of that island in front of the European continent.

But that is done in the documentary itself. By the people themselves.

The video opens with some sights and sounds from the Nottinghill Carnival of that year, which was the scene of a massive uprising of the people against the downpressors of the System.

We'll meet up with singers like Delroy Washington who play with a band and MC's such as Sir Coxsone who play the sound on a massive Sound System. All the time, the descriptions of what's going on contain references to the Bible and other spiritual elements that are so much part of Reggae and Rasta Culture.

WWW, November 2007 - Together with names like Barrington Levy, Frankie Paul was one of the leading Rub a Dub or early Dancehall singers during the 1980's.

In the time of this performance, Rub a Dub had turned to become Ragga or Dancehall. In the decade before, the Soul Syndicate had established their name as one of the leading Jamaican Studio and Session bands of the time, too.

Japansplash 1986 was the name and location of the performance recorded in this video.

Dressed in a suit and tie, Frankie Paul performs together with this tight band and he does it in a magnificent way. His voice is obviously and impressively indistinguishable from that of his -many- recordings.

WWW, November 2007 - Green Up Sounds hails from Santa Cruz, California (USA). They know how to nice up the dance in the 21st century with a selection of specials and crucial rhythms.

The founder of the "War on Drugs" may have gone senile and died some while ago, Ronald Reagan's crazy experiment is still terrorizing the world. In the USA, you can go to jail for life if the pole-ice gets you with a little bit of ganja for the third time.

People who grow a little bit of weed even risk their life as shoot-horny police-officers may shoot to kill just because they feel so. And, by the way, make some money in the process as Ronald Reagan's "War on Drugs" makes many people rich, including police officers who are basically above the law.

It is in this context, that we meet with the Green-Up sound from California, USA. 72 Minutes of pure niceness, in which some strong promotion of collie weed takes a prominent place. What else can you expect with a name like that?

Big up for the Freedom Fighters!

Sure, they know how to rock a party "American Style". Interesting combinations of hip hop and dancehall, seamlessly playing one rhythm after the other: even special mixes are there.

WWW, November 2007 - With some excellent video recordings from Jamaica in the 1970's capturing the vibes of the times, we'll meet up with Big Youth in a classic tune.

Some people have their own style within a style and Big Youth is definitely one of them. His own particular combination of toasting ("Reggae Rapping") and singing adds that special touch only he would give back then.

During the 1970's, Big Youth came up very strong as he voiced one riddim after the other." Train to Rhodesia" is just one of them, but it's one of his best tunes too. The music is played in the "Flying Cymbals" style made popular by the Soul Syndicate and can be found on the Big Youth album "Dreadlocks Dread".

Sights and Sounds from 1970's Jamaican music that will definitely appeal to the young hearts of today as well!

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